Surely, someone has made a hash of the plot. Yes, he was 88, but the Czech-born, British playwright, the true 20th century heir to Oscar Wilde, would never have arranged things so banally.
“A severe blow to Logic” is how a character describes the death of a philosophy professor in Stoppard’s 1972 play “Jumpers.” But then, as this polymath wag continues, “The truth to us philosophers, Mr. Crouch, is always an interim judgment … Unlike mystery novels, life does not guarantee a denouement; and if it came, how would one know whether to believe it?”
Few people were more agnostically alive than Stoppard, who loved the finer things in life and handsomely earned them with his inexhaustible wit. A man of consummate urbanity who lived like a country squire, he was a sportsman (cricket was his game) and a connoisseur of ideas, which he treated with a cricketer’s agility and vigor.
Stoppard announced himself with “Rosencrantz and Guildenstern Are Dead,” an absurdist lark that views “Hamlet” from the keyhole perspective of two courtiers jockeying for position in the new regime. The influence of Samuel Beckett was unmistakable in the combination of music hall zaniness and existential ruthlessness that characterized the succession of early plays that merged the Theatre of the Absurd with a souped-up version of Shavian farce.
Simple wasn’t Stoppard‘s style. The Fellini-esque profusion of “Jumpers” includes warring philosophy professors, a retired chanteuse and a chorus of acrobats, set within the frame of murder mystery that owes a debt to the gimlet-eyed social satire of Joe Orton. “Travesties,” Stoppard’s 1974 play, is built on the coincidence that James Joyce, Dadaist Tristan Tzara, and Vladimir Lenin all happened to be in Zurich during World War I — a cultural happenstance that paved the way for a dizzying alternative history, in which art faces off against politics. (Art, no surprise, wins.)
Wordplay, aphorisms and bon mots were Stoppard’s signature. Not since “The Importance of Being Earnest,” a play that Stoppard revered the way a mathematician would regard the world’s most elegant proof, has the English stage experienced such high-flying chat. Yet he acquired a reputation as a dandy, a clever humorist and an intellectual showman, distinctly apolitical and seemingly a man of no convictions.
The latter charge he no doubt would have taken as a compliment. He prided himself on having a mind unstained by certainties. But he was aware of the criticism of his work as intellectually brilliant but emotionally brittle. Virtuosity, in language and dramatic structure, was his great strength. But also perhaps his weakness — a weakness for which many lesser writers would no doubt sell their souls.
“Rosencrantz and Guildenstern” and “Travesties were indeed master manipulations of plot and language. They were also breaths of fresh air that won Tony Awards for best play and established Stoppard as a transatlantic force. It would have been perfectly natural for him to continue in this vein, but his writing took a more personal turn in “The Real Thing,” a play about a playwright learning both to write about love and to take in and appreciate its complex reality.
New York Times theater critic Frank Rich called “The Real Thing” “not only Mr. Stoppard’s most moving play, but also the most bracing play that anyone has written about love and marriage in years.” The 1984 Broadway premiere, starring Jeremy Irons and Glenn Close under the direction of Mike Nichols, won Tony Awards for its leads, Nichols’ direction, Christine Baranski’s featured performance and best play. It was Stoppard’s third such honor, and it would not be his last.
But the criticism didn’t end there. (Is it any surprise that in “The Real Inspector Hound,” his 1968 one-act, Stoppard imagined a scenario in which a critic is killed by the play he’s reviewing?) Stoppard’s cleverness, while the source of his fame and prestige, was intimidating to some and off-putting to others. Not everyone goes to the theater to be wowed by verbal pyrotechnics or daredevil plot high jinks. The blinding brilliance of his plays left theatergoers still squinting to see whether his work had much of a heart.
Stoppard ranged freely over a variety of dramatic modes. (It was this ability that made him such a valuable screenwriter and script doctor, earning him not only wealth but also a shared Oscar for the screenplay “Shakespeare in Love.”) But he had no interest in writing character studies. Domestic drama, with its psychological epiphanies and sentimental resolutions, repelled him. But neither was he drawn to the issue-laden work of his more politically minded postwar British playwriting peers, that new breed of dramatist unleashed by John Osborne’s “Look Back in Anger.”
A born entertainer who had no ideology to sell or bourgeois morality to promote, he gravitated to theater as the most exhilarating form of debate. What he called “the felicitous expression of ideas” mattered more to him than academic point-scoring. Language was a theatrical resource that could do more than win arguments.
The comedy of ideas had become self-serious over time. Stoppard was determined to restore its fun without diminishing its substance.
His astonishing erudition encouraged him to tread where few playwrights before him had dared to go. But he was too much of a sensualist to cloister himself in the archives of the British Museum.
When I interviewed Stoppard at San Francisco’s American Conservatory Theater during rehearsals for his play “The Hard Problem,” he told me that he didn’t think he ever spent more than half an hour on research. He did concede, however, “I’ve spent many, many days of my life reading for pleasure in order to inform myself about something.
How else could he have pulled off “The Coast of Utopia,” a three-play creation centered on 19th century Russian intellectuals, romantics and revolutionaries against decades of geopolitical tumult? This marathon epic earned Stoppard his fourth Tony Award for best play.
“Arcadia,” perhaps his crowning achievement, may not be as sprawling but it’s just as intellectually ambitious. It’s also perhaps his most lyrically affecting.
A literary and biographical mystery play set in an English country estate in two different time zones (one in the age of Lord Byron, the other in the era of contemporary academic sleuths), “Arcadia” owes a debt to A.S. Byatt’s “Possession.” (In her mammoth biography “Tom Stoppard: A Life,” Hermione Lee reports that “Byatt has said that Stoppard told her he ‘pinched’ the plot from her.”) But the way Stoppard incorporates mathematical concepts as rarefied as fractal geometry to explore concepts of order and chaos as the characters hypothesize on the patterns of time is Stoppardian through and through.
Stoppard’s late works are his most personal. “Rock ’N’ Roll,” which he dedicated to Vaclav Havel, explores the rebellious, Dionysian force of popular music, an eternal source of inspiration for him, in a play set partly in Prague during the Communist era. “Leopoldstadt,” which won Stoppard his fifth and last Tony for best play, is the work in which the playwright grapples, from an artistic remove, with the history he was late to discover about what happened to his Jewish family during and after the rise of Hitler.
“The Invention of Love” is one of those Stoppard plays that leaves a critic feeling both rapturous and unsatisfied, a paradoxical state but then what can anyone expect from a play that makes the poet, classicist and closet homosexual A.E. Housman a theatrical protagonist?
No play by Stoppard can be fully appreciated in a single theatrical outing. The dramaturgy is too complex, the intelligence too quick-footed and the language too dazzling for instant assessment. My fear is that the plays are too expansive for the diminished scale of dramatic production today. But Stoppard has left theatrical riches that will entice audiences for generations through their intellectual exuberance, preternatural eloquence and omnivorous delight.
Tom Stoppard, frequently hailed as the greatest British playwright of this generation, had both a remarkable life and a remarkable career.
Born in Czechoslovakia in 1937, his family fled to Singapore when the Nazis invaded. When Japan threatened their new home, his mother took him and his brother to India. His father stayed behind in Singapore but died when the ship he was aboard was sunk. His mother later married a British officer and the family relocated to England, where young Stoppard took his stepfather’s surname and “put on Englishness like a coat,” he later said.
Stoppard quickly became known for his clever, witty and intellectually curious work, earning three Olivier Awards, five Tony Awards and an Oscar (for “Shakespeare in Love”). He was even knighted in 1997 by Queen Elizabeth II for his contributions to theater.
Starting with “Rosencrantz and Guildenstern Are Dead” in 1966, through his final full-length play “Leopoldstadt” in 2020, Stoppard crafted a body of work that would be the envy of most countries, let alone one writer.
Below are some of Stoppard most important plays, with observations from Times critics:
The 2022 Broadway production of “Leopoldstadt” in a family scene from 1924.
(Joan Marcus)
Rosencrantz and Guildenstern Are Dead (1966)
After working as a journalist, Stoppard had a breakthrough when this absurdist romp debuted at the Edinburgh Fringe. Times theater critic Charles McNulty reviewed a 2013 production at the Old Globe’s Shakespeare Festival in San Diego, describing it as a “metapharcical romp (to coin a genre), in which ‘Hamlet’ is glimpsed through the oblique perspective of the prince’s twin buddies, sent to spy on him by Gertrude and Claudius in that Elsinore castle of murder, adultery and occult intrigue. … Stoppard’s fertile wit keeps this three-act drama pulsing along without too much strain. A subtle pathos, along with the playwright’s verbal sophistication, prevents the play from degenerating into a collegiate vaudeville.” In 1990, Stoppard himself directed a film version starring Gary Oldman and Tim Roth.
Jumpers (1972)
This satire set in an alternative universe in which British astronauts land on the moon and “Radical Liberals” have taken over the nation’s government, premiered at London’s Old Vic starring Michael Hordern and Diana Rigg. Two years later, Times theater critic Dan Sullivan reviewed an American Conservatory Theater production of it in San Francisco. “Stoppard’s new play can’t be hung with one of those preprinted tags that theater critics carry in their pockets for easy labeling,” he wrote. “You might call it a Metaphysical Spoof With Acrobatic Prelude, or you might not. The only general thing you can say about it is that it’s very bright and very funny, and sometimes rather touching.”
Travesties (1974)
The Royal Shakespeare Company staged the first production at the Aldwych Theatre in London, starring John Wood, John Hurt, Tom Bell and Frank Windsor. Stoppard was fascinated with the idea that James Joyce, Vladimir Lenin and Dadadist poet Tristan Tzara were all living in Zurich in 1917. He placed these zeitgeist figures in the orbit of a more humble historical figure named Henry Carr, who figured into Joyce’s “Ulysses.” The Times’ Sullivan took in the 1975 New York production, calling it “dazzling” and wondered if Broadway audiences would be able to keep up with it. “Like Stoppard’s last play ‘Jumpers’ (which didn’t do very well here), this is a vaudeville show where the language does tricks as well as the actors,” wrote Sullivan. “And to do the tricks as well as ‘Travesties,’ John Wood [as Carr], a playwright’s language has got to be pretty accomplished.”
The Real Thing (1982)
Felicity Kendal and Roger Rees originated the lead roles in Stoppard’s very personal examination of love and marriage, truth and honesty. The playwright significantly reworked the script for its Broadway run, starring Glenn Close and Jeremy Irons directed by Mike Nichols, to great success. Linda Purl and Michael Gross assumed the roles for the 1986 L.A. production at the Doolittle Theatre. ”Without spoiling its surprises, the reviewer can say that not every scene in ‘The Real Thing’ is what it seems to be, including the first one,” wrote Sullivan. “Stoppard’s characters are theater people, professional makers of scenes, and some of these scenes get swept into the play. … ‘The Real Thing’ has wit, surprise and characters you care about. … If you like plays written in full sentences, you’ll like ‘The Real Thing.’
Arcadia (1993)
Moving between the 19th century and the present, Stoddard balanced tragedy and comedy with a healthy dose of science and mathematics. The play opened at the Royal National Theatre in London directed by Trevor Nunn with a cast including Rufus Sewell, Felicity Kendal, Bill Nighy and Emma Fielding. Two years later, in New York, Nunn directed a new cast that included Billy Crudup, Blair Brown, Victor Garber as Bernard, Robert Sean Leonard, Jennifer Dundas and Paul Giamatti in his Broadway debut. “‘Arcadia’ is a great play not because it seamlessly meshes serious ideas and the intense pleasure of a literary detective story,” wrote Times critic Laurie Winer, reviewing director Robert Egan’s 1997 Mark Taper Forum production. “It is a great play because, by the end, Tom Stoppard touches ineffability, just as his heroine touches genius.”
The Invention of Love (1997)
For this portrait of poet A. E. Housman, Stoppard once again turned to historical figures for his cast. The play premiered at the Royal National Theatre, London, with Housman played as an old man by John Wood and as a young man by Paul Rhys. It was directed by Richard Eyre. The play opened on Broadway at the Lyceum Theatre in 2001, directed by Jack O’Brien. “Stoppard has written an essentially undramatic dreamscape,” wrote Times critic Michael Phillips.” The recently deceased Housman (Richard Easton), about to cross the River Styx, assesses his recessive life and great unrequited love for the athlete Moses Jackson (David Harbour), a fellow Oxford man. En route, the elder Housman runs into his younger self (Robert Sean Leonard). There’s a long scene near the end of Act 1 shared by the two Housmans. As they discuss the niceties and textual flaws of the classics they love as much as life itself, Stoppard’s playfulness is tinged with rue; the older man cannot prevent the younger’s heartbreak to come.”
The Coast of Utopia (2002)
This trilogy of plays, “Voyage,” “Shipwreck” and “Salvage,” zeroed in on philosophical debates in 19th century Russia. They premiered at the National Theatre’s Olivier auditorium in repertory, directed by Nunn. The plays debuted on Broadway, directed by Jack O’Brien, at the Vivian Beaumont Theater at Lincoln Center in 2006. “A nearly eight-hour drama about the Russian intelligentsia that received mixed reviews when it premiered in London in 2002, ‘The Coast of Utopia’ isn’t for the theatrical faint of heart,” cautioned Times critic McNulty. “Stamina is a prerequisite for the company and audience alike. … Stoppard’s play enacts a moment in history when thinkers and writers set out to redirect the future. Ideologies were conceived and pressed immediately into service, sometimes at the expense of the individual lives they were theoretically meant to serve. [It] dramatizes both the ebb and flow of conditional life and the hunger for unconditional solutions to its woes.”
Rock ‘n’ Roll (2006)
Stoppard looked to his Czech roots with this drama, connecting the Prague Spring of 1968 with the Velvet Revolution of 1989 through music. The play premiered at the Royal Court Theatre, London, once again directed by Nunn and featuring Rufus Sewell, Brian Cox and Sinéad Cusack. The cast moved to Broadway in 2007. “You might want to arrive a bit early and study the timelines in the lobby, which detail Czechoslovakia’s turbulent political history from 1968 to 1990 and key events in the rock music scene during that era,” wrote reviewer F. Kathleen Foley of Open Fist’s 2010 production. “Read them carefully. Otherwise your head just may explode at some point during this Los Angeles premiere, which presupposes an intimate familiarity with Czech history, the early rock scene and, oh, did we mention Sapphic poetry? It’s all a bit ostentatious and difficult to follow — but even at his most intellectually prolix, Stoppard is flat-out brilliant, arguably our greatest living playwright.”
Leopoldstadt (2020)
The final play of Stoppard’s brilliant career was sparked by the playwright learning of the plight of his Jewish ancestors upon his mother’s death in 1996. It debuted at Wyndham’s Theatre in London’s West End, but was interrupted by the COVID-19 pandemic and debuted on Broadway in 2022 starring Davis Krumholtz with Patrick Marber directing. The play “unfolds as a series of oil paintings magicked into life,” wrote Times critic McNulty. “The play, which features a cast of 38 actors, moves from turn-of-the-century Vienna, where Freud, Mahler and Schnitzler are the talk of the town, to 1924, when the scars of World War I are clearly visible. Performed without intermission, the action ominously leaps to 1938, as the Nazis are ransacking the homes of Jewish citizens. The play concludes in 1955, when three family survivors reunite to piece together the fates of their murdered relatives. … It’s not just that the work mirrors aspects of his personal history. It’s also the virtuosic way that he conjures the shifting cultural zeitgeist of Vienna in the first half of the 20th century through stylized conversation alone.”
You can find audio dramas by L.A. Theatre Works of “Rosencrantz and Guildenstern are Dead,” “The Real Thing” and “Arcadia” on Spotify.
Many of the films Stoppard wrote or co-wrote are available for streaming, including “Brazil” (1985),” Turner Classic Movies, and for rent on Apple TV and Prime Video; “The Russia House” (1990), for rent on Prime Video; “Rosencrantz and Guildenstern Are Dead” (1990), for rent on various platforms; “Empire of the Sun” (1987), for rent on various platforms; and “Shakespeare in Love” (1998), Paramount+ and Kanopy, and for rent on various platforms.
Stoppard is also certainly a playwright whose work is a joy to read. Most of these plays can be found at your local public library or favorite bookstore.
“You’re a Wizard. Bouncing back baby!!” she wrote in response to the post. Her comment was accompanied by three heart-eyes emoji. Van Der Beek revealed last year that he had been diagnosed with Stage 3 colorectal cancer.
In the short clip, Van Der Beek wears a white football jersey with the number 4 and the name Moxon on the back. He played backup quarterback Jonathan “Mox” Moxon in the Texas-set 1999 coming-of-age film.
“Maybe it was all fun plays we got run in the football sequences for the away games… but I always loved putting on the varsity whites,” Van Der Beek wrote in the caption of the video featuring his “favorite jersey.” He also shared that limited quantities of the commemorative jersey are available for fans to purchase with or without his autograph. The actor sold a similar offering last year. The proceeds will “go directly to families undergoing cancer treatment,” according to his website.
Van Der Beek went on to thank his fans for their outpouring of support since he shared his diagnosis.
“Last year when I released the Blues jersey, I was blown away by the love and support I received from all of you,” he wrote. “It has meant more than I can ever express. … Thank you — for the love, the prayers, the support, and for making this jersey mean something far bigger than a movie. Endlessly grateful for all of you.”
Earlier this month, the “Dawson’s Creek” actor announced that he is also auctioning off memorabilia from his personal collection to help pay for his cancer treatments.
WHO doesn’t love a Christmas film? They’re cosy, uplifting and of course, full of festivities.
If you want to take your viewing a step further, Trainline has given us the lowdown on journeys to make this season from chocolate-box style village to spots in the capital where famous faces created some of your favourite festive movies.
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You can visit iconic spots in films like Love ActuallyCredit: AlamyDaniel and Sam sit on a bench just outside of Gabriel’s Wharf in LondonCredit: Alamy Stock Photo
Love Actually
Telling epic, and sometimes brutal, love stories is the Christmas classic, Love Actually.
Some iconic spots from the film include Borough Market, and finding the spot where Liam Neeson’s character Daniel has a heart-to-heart with his son Sam (played by Thomas Brodie-Sangster).
The bench is at at Queen’s Walk on Gabriel’s Wharf which looks over the Thames and has independent boutiques, galleries, street food, and restaurants.
City Hall is where Bill Nighy’s record label was founded, and don’t forget to visit Somerset House.
If you head to Oxford Street you’ll spy Selfridges – the department store where Harry attempts to buy Mia a necklace only to be thwarted by Rowan Atkinson.
You only get a glimpse of it during the film, but it’s a fab festive visit.
At the moment, visitors can step onto the ice with Virgin Skate with tickets from £27.50.
Most read in Best of British
How to get there: Take a train into Waterloo or Blackfriars station and Gabriel’s Wharf is a 10-minute walk.
For City Hall, head to London Bridge station and from there it’s a 10-minute walk. Somerset House is about 15 minutes’ walk from Waterloo station.
The kids in Nativity! do their final performance in CoventryCredit: Alamy Stock PhotoYou can visit Coventry Cathedral for freeCredit: Alamy
Nativity!
Back in 2009 Nativity! was released and the cast and crew made a big impact in Coventry.
Most notably, the grand finale of the film takes place in the huge Coventry Cathedral.
You can visit the old Coventry Cathedral for free – although they do ask for donations for the upkeep of the historical site.
Also in the city you can visit the Blitz Museum, New Cathedral and incredible Tower Climb up 180 steps.
How to get there: Take a train direct to Coventry station where the ruins are just 15 minutes’ walk away.
The Snowman cartoon depicts the well-known seaside city of BrightonCredit: AlamyJames and the Snowman fly over Brighton’s Palace PierCredit: Unknown
The Snowman
It might be an illustrated film, but The Snowman is a classic and there’s some obvious locations throughout the film – particularly in the south.
James and The Snowman fly over the very recognisable Royal Pavilion and Palace Pier.
As most Brits know, Brighton is absolutely thriving with restaurants, cafes, independent shops and plenty to do like visiting Sea Life, LaserZone and the Upside Down House.
How to get tehre: Nearest station: Brighton which has direct trains from London Victoria, Blackfriars and London Bridge.
The Palace Pier is just over 15 minutes’ walk (or a short bus ride) and the Royal Pavilion is just 11 minutes’ walk.
Scenes for The Holiday were filmed in the Surrey countrysideCredit: Alamy Stock PhotoThe cosy pub in The Holiday is found in the Surrey village, ShereCredit: Alamy
The Holiday
Kate Winslet’s cosy English cottage is a Christmas dream staycation for most of us – but sadly, it doesn’t exist.
However, there are places in the film that you can actually visit if you head to Shere, a village in Surrey.
The picture perfect spot has one church, two pubs, a café – with The White Horse pub which was where Graham (played by Jude Law) and Amanda (Cameron Diaz) had their cosy date.
Guests have raved about the pub, praising both the staff and the food.
One person called it a “quaint old pub full of character” another said they had their “best meal all year”.
You’ll feel the inspiration of Iris’ cottage in the chocolate-box village too and there are plenty of cute places to stop in like the Dabbling Duck tearoom, and sweetshop called Shere Delights.
You can also stop by the town of Godalming which has pretty cobbled lanes and narrow road where Amanda attempts to drive around.
How to get there: The nearest station for Shere is Gomshall, and from there it’s a 15 minute walk to Shere village.
Strolling back to Gomshall, you can take another train onwards to Godalming, which is connected on the London Waterloo line.
The musical film; Jingle, Jangle: A Christmas Journey filmed lots of scenes in NorwichCredit: Alamy Stock PhotoNorwich’s Elm Hill becomes the fiction town of Cobbleton in the filmCredit: Alamy Stock Photo
Jingle, Jangle: A Christmas Journey
Called a ‘Christmas underdog’ Jingle, Jangle: A Christmas Journey only came out five years ago – but has some great spots to visit in the UK.
The musical adventure follows legendary toymaker Jeronicus Jangle and many of the key scenes were shot in Norwich.
The fictional town of Cobbleton had the backdrop of Elm Hill – a historic, cobbled street known for its medieval half-timbered buildings.
It’s a myth that the Family and Friends railcard is only for a family of 3+.
It gives 1/3 off adult fares and 60% off kids’ tickets.
Got kids aged 16+? There’s more than one option – the 16-17 Saver provides 50 per cent off adult fares, or the 16-25 Railcard provides a third off – with a 3-year option available at a discounted rate of £80.
GroupSave perks
If you are travelling in a group of three-to-nine you can save up to 1/3 on tickets when you book together.
One person just needs to book for the whole group to unlock GroupSave – for eligible journeys a pop-up message in the Trainline app will prompt you to “Apply discount”.
You can visit some iconic Christmas movie locations by train this winterCredit: Alamy Stock Photo
LOVE Island Australia beauty Gabby broke down in tears after her partner Jotham had a “filthy” sex chat with a villa rival.
The brunette stunner, who allegedly has the biggest boobs in the show’s history, couldn’t believe her ears when she walked in on Jotham excitedly reacting to Mia’s high sex drive.
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Love Island Australia’s Gabby broke down in tears over a raunchy villa chatCredit: 9NOWShe branded her co-stars’ conversation ‘filth’Credit: 9NOWJotham didn’t realise what he’d done wrongCredit: 9NOW
After waiting for around 30 minutes for her man to appear, Gabby heard his voice booming from inside the villa and tiptoed up the stairs to investigate.
Her eyes soon popped as she heard Mia say: “My sex drive is insane. The guy that I would see, if I was in a situationship, we’d have sex like five times a day.”
Laughing, Jotham replies: “Milk that man dry. Mumma ain’t finished.”
Despite their horniness, the pair agreed that neither would have sex in the villa.
Having overheard the whole chat, Gabby said to camera: “The conversation is just absolute filth.
“I just thought Jotham would shut down that sort of conversation and walk out.”
She later broke down in tears over Jotham’s response to Mia’s confession, saying: “I actually see a relationship with him, and I feel that’s not being reciprocated.
“And that’s why all of this is really hurting me.”
Viewers sided with her, with one writing on Instagram: “Not the biggest fan of Gabby but I do think for the first time, she has a point.”
A second said: “I love Gabby so much.”
A third posted: “Idc Gabby is right for this, I would feel some type of way about my man speaking about s** with two girls, especially one that has shown she has an interest in him.”
Mia said she wants sex five times a dayCredit: 9NOWGabby said she felt Jotham wasn’t reciprocating her feelingsCredit: 9NOW
Aitch’s budding jungle romance with EastEnders star Shona McGarty on I’m A Celebrity…Get Me Out Of Here! has been backed by friends of the rapper while he is Down Under
13:00, 26 Nov 2025Updated 13:02, 26 Nov 2025
Aitch and Shona could be about to become the latest jungle love story on I’m A Celeb(Image: ITV)
Aitch and Shona McGarty could make a “nice couple”, the rapper’s close pal and manager has said. Via Culpan delivered her verdict on the rumoured potential romance between the rapper and EastEnders actress as she landed at Brisbane Airport today.
Asked if they would make a nice couple, Via said: “They’re both nice people. I’m not sure but yeah! I don’t know.” But she added: “I personally think it’s more of a brother-sister relationship.”
She praised Aitch’s efforts in the jungle, saying: “He’s smashed it, he’s done so well. He was scared about the eating trials but he’s smashed it.”
Her comments come after Shona’s sister Camilla flew in yesterday and also spoke about Aitch. She said: “He is a nice guy…I would definitely have him around for Christmas.”
Aitch confessed his feelings about Shona to Angry Ginge at the end of last week, admitting: “I’ve got a bit of a soft spot for Shona, me.”
It led to Ant and Dec saying they were desperate for a jungle romance this year on the show. But Camilla said that she needed to see more evidence that romance is actually blossoming.
She added: “I don’t know if I see it romantically…it might just be a brother and sister relationship but I don’t know…I don’t think we have seen enough to make a definite decision on it.”
Shona broke up with her musician fiancé, David Bracken, earlier this year. Insiders say the split is amicable, and he recently wished her all the best for the jungle on social media.
Aitch is also single after splitting with Lois Cottam before going into the Jungle. Dec previously said he was shell-shocked by Aitch’s comments when watching the scenes shortly before they aired, on Friday night.
He said: “This came completely out of the blue this morning.” Ant added: “It’s been a while since we’ve had a proper romance on this show. We’d love to see it….we would celebrate it.”
When Aitch told his close friend Ginge about his feelings, the Twitch streamer replied: “I think she’s really nice, if that’s what you mean, yeah?” Keeping things low-key, Aitch commented: “Yeah, that’s what I mean…”
As soon as scene aired, fans have taken to social media, with one saying: Aitch and Shona have chem… Just saying. #ImACeleb.” A second added: “Aitch and Shona would make a lovely couple! #ImaCeleb.” “#ImACeleb I definitely can see Aitch and Shona together,” penned a third.
“The Aitch and Shona friendship #imaceleb,” tweeted another. Before a sixth went on to pen: “Even aitch feeling the spark we all see with Shona #ImACeleb.”
I’m A Celebrity…Get Me Out of Here! continues tonight at 9pm on ITV1 and ITVX.
The final film of the late Glenda Jackson and, if he remains true to his word, of Michael Caine, “The Great Escaper” has made its way to America two years after its U.K. release. Premiering Sunday under the umbrella of the PBS series “Masterpiece Theatre,” the film tells the true-life story of Bernie Jordan, who, at 89, set off unaccompanied and unannounced from an English retirement home to attend celebrations marking the 70th anniversary of D-Day in Normandy, France. (This event also inspired a Pierce Brosnan film, “The Last Rifleman,” which came out about the same time.) Love and time and duty are its themes. Written by William Ivory and directed by Oliver Parker, it’s a simple story, simply told — sweet, but not saccharine, and moving even when you know what’s coming.
Bernie (Caine) lives with his wife, Rene (Jackson), in a care home by the sea in the town of Hove. She needs more medical attention than he, but both have their wits about them. Having missed securing a spot among the groups traveling to Normandy, Bernie, a Royal Navy veteran, with Rene’s encouragement, decides to go it alone. Though he uses a walker and can seem tired or abstracted at times — he has much on his mind, and a specific mission to fulfill — the trip itself is not especially hard on him. It becomes all the easier once he meets, on the ferry across the English Channel, Arthur Howard-Johnson (John Standing, very fine), an RAF veteran who offers him a place with his group and a bed in his hotel room. As the film goes on, he becomes more and more focused, growing alert and lively and taking charge of Arthur, who had earlier taken charge of him. Each, it will transpire, carries a burden of guilt dating from the invasion.
Michael Caine and Glenda Jackson in “The Great Escaper.”
(Rob Youngson / Masterpiece, Pathé, BBC Films)
Back in Hove, the staff, represented by aide Adele (Danielle Vitalis) and manager Judith (Jackie Clune), is not immediately aware of Bernie’s absence — he’s allowed to come and go — and Rene, who has a tendency to fence with them anyway, is keeping quiet in order to give him time to get away. When they learn he’s missing, a search begins; eventually, Rene lets the truth slip, the exploit hits the press and Bernie, unaware of any of this, is given the nickname “The Great Escaper.” He’ll return home an annoyed celebrity.
Flashbacks, with Will Fletcher as young Bernie and Laura Marcus as young Rene, recall the couple’s wartime meeting and Bernie’s interactions with a young soldier on D-Day. Integrated as memories, they enrich the present action without overexplaining it.
Jackson and Caine, you may know or should learn, were icons of British thespian glamour in the 1960s and ’70s, she in “Marat/Sade,” “Women in Love” and “Elizabeth R,” he in “Alfie” and the Harry Palmer films (“The Ipcress File,” et al.); in 1975, they starred together in Joseph Losey’s “The Romantic Englishwoman,” co-written by Tom Stoppard. Always politically active, Jackson took off 23 years from acting, from 1992 to 2015, to serve as a member of Parliament, and returned to play “King Lear” in London and on Broadway and win a Tony for a revival of Edward Albee’s “Three Tall Women.” Caine, notwithstanding some slow times, made movies all along, all sorts of them, playing Scrooge in “The Muppet Christmas Carol,” Mike Myers’ father in “Austin Powers in Goldmember” and Alfred in the Christopher Nolan’s “Batman” trilogy and parts in five other Nolan films. Watching “The Great Escaper,” you’re seeing history.
Neither has lost a step. (I find it pleasant to remember that, however frail or confused an older character may be, the person playing them is doing a job that requires strength and thought.) Given both the eminence of the actors and their age — Caine was 90 when “The Great Escaper” premiered, while Jackson, 87, died shortly before — it’s hard not to watch with a double consciousness of the players and the parts. But rather than a distraction, it redoubles the impact. Jackson and Caine wear their years proudly; there’s no vanity in their performance or their appearance. The couple’s eventual reunion is deep and real and, like their whole relationship, gorgeously ordinary.
Last December, Ravyn Lenae stood in the street and pointed her phone at herself to film a TikTok set to her song “Love Me Not.”
“Me after linking with him one last time cause I’m not bringing him into 2025,” she captioned the video — a cutesy kiss-off to a guy she’d clearly decided was holding her back from where she was meant to go.
Nearly a year later, it appears the singer was right: In early April, “Love Me Not” — a swinging, lightly psychedelic soul number about a hot-and-cold lover — gave Lenae her first entry on Billboard’s Hot 100; a week later, she made her debut at the Coachella Valley Music and Arts Festival. Several months after that, she performed to an enthusiastic crowd at Lollapalooza just before “Love Me Not” peaked at No. 5 in mid-August.
Now, with one of 2025’s biggest hits under her belt, Lenae, 26, is winding down her breakout year by opening for Sabrina Carpenter as Carpenter’s Short n’ Sweet tour wraps up this week with six sold-out shows through Sunday at Crypto.com Arena.
“A lot of this period has been me asking other artists, ‘Is this how it normally is?’” Lenae tells me on a recent evening. “How do you balance the social aspect and the online aspect and the touring with also staying highly creative?”
Not to mention tending to a personal life.
“What’s that?” she asks with a laugh. “That’s literally nonexistent.”
The runaway success of “Love Me Not,” which has been streamed more than 700 million times on Spotify, is no doubt what’s put the breathy-voiced Lenae before many listeners for the first time. (A remix featuring Rex Orange County has another 164 million Spotify streams.)
At one point as the song was blowing up, she responded to a fan on TikTok who’d been surprised to learn that Lenae is Black — “Y’all didn’t read the name Ravyn Lenae and think, ‘Oh, that’s a Black girl?’” the singer asks in the clip — then went ahead and clarified that also she’s not British, as some evidently had assumed.
Yet “Love Me Not” actually comes a decade into a career that began while Lenae was still in high school. She signed to Atlantic Records at age 16 and soon was touring and working in the studio with the likes of SZA and Steve Lacy; “Hypnos,” her debut LP, came out in 2022 and made Pitchfork’s closely watched list of the year’s best albums.
“I’m pretty conceited about the fact that I’ve loved Ravyn for as long as I have,” says the singer and actor Reneé Rapp, who like Carpenter took Lenae out on the road this year as an opening act. Rapp discovered one of Lenae’s early EPs when she herself was in high school and has been a fan ever since. “I’m like, ‘You bitches are new, and don’t get me wrong — I’m so happy you’re here. But let’s get it right: I was boots on the ground first.’”
To Rapp’s ears, Lenae’s airy soprano “has this beautiful ping at the top that I’ve only ever heard in Minnie Riperton,” she says. “She’s just like a little fairy. She floats around, and her voice does the same thing.”
“Love Me Not,” which is still hanging out in the upper reaches of the Hot 100, is from Lenae’s sophomore album, “Bird’s Eye,” which came out in August 2024. She recorded the song with the producer Dahi, who’s known for his work with Kendrick Lamar and Vince Staples; Dahi started the track years ago with Anderson .Paak then put it in a drawer before he’d finished it.
“At the time, I was really into MGMT,” Dahi says, referring to the alternative rock duo whose dreamy-jangly guitar sound echoes throughout “Love Me Not.” With Lenae, he pushed the song toward classic R&B — “something that would be played on ‘Happy Days’ or some s—,” he says — but retained a spacey vibe that keeps it from feeling rooted in any specific era or genre.
Lenae says her goal was to create something “soulful and Black but that transcends time and race”; the result can be heard in a lineage of enduring hard-to-classify hits like Outkast’s “Hey Ya!” and Gnarls Barkley’s “Crazy” that charm listeners across demographic lines.
“If you don’t like ‘Crazy,’ there’s something wrong with you,” Lenae says as a pedicurist exfoliates her feet in a West Hollywood hotel room. It’s the end of a long day that began with an early-morning flight from New York, where Lenae performed with Kali Uchis on “The Tonight Show” and at Madison Square Garden. Now, after a photo shoot, she’s changed into gray sweats to sneak in a moment of self-care during our chat.
“With the heels I’m wearing all the time, you can see the corns,” she says, looking down to check out the pedicurist’s progress. “I wonder what Beyoncé’s feet look like. ’Cause if mine look like this? She’s putting in work.”
Though “Love Me Not” was singled out by critics right away, the song really took off late last year after a DJ posted a viral TikTok that mashed it up with Solange’s “Losing You” as part of a series exploring “euphoric” breakup songs. An admiring post on X by SZA — “One of my fav albums this year,” she wrote of “Bird’s Eye” — helped bring more attention to Lenae’s music.
Ravyn Lenae in West Hollywood.
(Ian Spanier / For The Times)
The singer grew up in Chicago, where her mother’s parents landed in the late ’70s as immigrants from Panama. That’s their house on the city’s south side in the music video for “Love Me Not,” which Lenae directed and which shows her and her younger sister dancing just outside the bedroom where Lenae slept as a kid.
“I knew this song would be a lot of people’s introduction to me, so I wanted them to immediately jump into my world,” she says. “My grandparents are very shy people, and when my grandma saw the video, she was like, ‘Oh, Ravyn, baby …’”
Singing at talent shows as a 12-year-old, Lenae wanted to be a “a mix between Alicia Keys and Beyoncé,” as she puts it; later, she learned to perform Christina Aguilera’s “Beautiful” and Rihanna’s “Take a Bow.”
“I was like, ‘I’m-a win ’em over with this one,’” she says of the dramatic ballads. “I’m sure I sound crazy on video.”
Lenae, who went on to study at the Chicago High School for the Arts, came to understand that the soft lilt of her voice distinguished her from those powerhouses; she found inspiration in “the sensuality and the femininity” of music by Diana Ross, Patrice Rushen and Janet Jackson, whose “All for You” album — released in 2001, when Lenae was 2 — would become a touchstone.
“There’s a lot to win by not being the loudest in the room,” says Rapp.
Lenae moved to L.A. in 2020. Her first year here was rough, she says — she missed her mom and felt the burden of a bank account with $100 in it. “I remember some crying in the shower,” the singer says now.
Her 2022 song “Skin Tight,” a yearning flirtation she wrote and recorded with Lacy, registered as a turning point; so did the success of Lacy’s quirky soul-rock hit “Bad Habit,” which topped the Hot 100 on its way to Grammy nominations for record and song of the year.
“That was a historical moment for artists like us that have been working at it for a long time — Black artists who’ve always been a little to the left of what was going on,” Lenae says. “Steve going No. 1 showed there really are no rules and that there’s space for all of us.”
Beyond “Love Me Not,” highlights on “Bird’s Eye” include an intimate acoustic number, “From Scratch,” that Lenae says she and Dahi modeled on Lauryn Hill and D’Angelo’s “Nothing Even Matters”; the lush and whispery “Dream Girl,” which features input by Jackson’s longtime collaborators Jimmy Jam and Terry Lewis; and “Bad Idea,” a percussive electro-funk jam that interpolates Bow Wow and Ciara’s early-2000s “Like You.”
“All those Ciara hits, I had the choreo down,” Lenae says.
The album also contains the tender yet mournful “One Wish,” which Lenae wrote about her dad not being around as she was growing up.
“I never, ever thought I’d talk about that publicly, but I think I was just at a point in my life where it felt natural,” she says. “And me and him had just started reconciling, so it was very top of mind.” She invited her father to come to L.A. to appear in the song’s video, which depicts a young girl running after a car as a man angrily drives away; the day after the shoot, they went to Roscoe’s and had a long talk about her childhood.
“Yesterday was his birthday, and I forgot,” she tells me. “I felt horrible, but then I was like, Should I feel horrible? I go back and forth with it all the time.”
Lenae is extremely close with her mother, who’ll sometimes join her on the road “just to spend time with me or hold my hand — to sleep in the same hotel bed,” she says. “That’s the person I know I can keep counting on.”
After this week’s dates with Carpenter, Lenae will head east for a handful of shows on iHeartRadio’s Jingle Ball tour — one more chance to build upon “Love Me Not’s” Top 40 breakthrough. Then she and Dahi plan to focus on finishing her next album.
So far, Lenae says, it’s shaping up to be “a little more punchy and explosive” than “Bird’s Eye.” One of the new songs is about her mom; Lenae played it for her when she was here visiting not long ago.
“I had the lyrics up, and as she was reading it, she looked up at me and there was a tear in her eye,” she recalls. “Then we started bawling together. I think that one might end up her favorite.”
However, only five couples managed to reach the final vows ceremony, with four deciding to continue their romances in the real world.
Now that the latest Married At First Sight UK series has wrapped up, we’ve examined which couples made it to those crucial final vows and who’s still together after filming ended.
This follows a series of surprising separation announcements. So which pairs are actually still loved-up? reports OK!.
Davide and Keye – separated
Fan favourites Davide and Keye breezed through their final vows and took their romance into the real world. Nevertheless, it’s now been revealed that the pair are no longer an item.
The duo confirmed their break up this month after Keye admitted to using dating app Grindr, which a devastated Davide uncovered. In a social media statement, Davide revealed the two were no longer speaking but said he “wished Keye the best”.
Confirming their split, Keye said: “In the early hours of a Sunday morning, while Davide was on a flight, I downloaded Grindr. I want to be clear that I was not looking to cheat, hook up, or find someone else. I was in a dark and fragile place and reached for something unhealthy because I did not know how else to cope.
“What I was seeking had nothing to do with intimacy. It was an attempt to escape emotions I could not sit with, and I reached for substances when what I really needed was support.”
He added: “When Davide found my profile through his, it cost me my marriage. That is something I carry with me every day.”
Leigh and Leah – separated
Viewers will recall the devastating final vows as both Leigh and Leah chose to end their relationship there and then.
Leigh confessed the couple had battled with their communication along with trust issues, whilst Leah spoke about the strain and uncertainty as she revealed she felt she was being put on “trial”.
The pair remain apart, with Leah seemingly dating someone new since leaving the programme whilst Leigh appears to be single at present.
Bailey and Rebecca – separated
Despite keeping a solid relationship going throughout the series and delivering touching final vows, Rebecca and Bailey revealed their break up after filming wrapped.
Rebecca simply posted on Instagram: “To answer all the questions…. Yes, he fumbled.”
Meanwhile, in an extensive statement, Bailey revealed: “Unfortunately it’s time to share that Bec and I are no longer together…
“We tried our best to navigate life after the experiment, and although we spent a lot of great time together on the outside, unfortunately the relationship came to an end. I still have a lot of love for Bec and I’m grateful for the amazing relationship we shared. I had fallen for Bec completely and it really was a true love story.”
He went on to say he accepts responsibility for his role in the relationship breakdown, describing it as “heartbreaking”.
Leisha and Reiss – separated
Leisha and Reiss faced their share of communication struggles during their MAFS UK journey but departed the experiment determined to make their romance work.
Nevertheless, it was subsequently revealed the pair had parted ways.
It seems their communication difficulties persisted beyond the show as Leisha was spotted in floods of tears during an emotional reunion episode.
In a heartfelt Instagram post, Leisha penned: “This experience has taught me that my worth is not defined by someone else’s ability to value it. I may have lost him, but in the process, I found me.”
Abi and John – still together
Abi and John remain the sole couple from the series who are still loved-up and going strong.
The duo stayed solid throughout their MAFS UK adventure, despite arriving as latecomers to the experiment. Earlier this week, John took to Instagram to share some news, stating they had an “announcement to make” before confirming that the couple are still going strong.
In a subsequent post, John revealed that they’ve been spending more time in North Wales, with Abi responding to his update: “Best feeling ever is to step into our new lives together! Wales = Home.”
Married At First Sight UK is available to stream on Channel 4 online
Hugh Jackman never thought he’d be a karaoke guy. But then Neil Diamond happened.
Starring opposite Kate Hudson in the Christmas Day release “Song Sung Blue,” the 57-year-old Australian actor portrays not the legendary Grammy winner and shaggy-haired sex symbol, but rather a Neil Diamond “interpreter,” the real-life Mike Sardina, who, with his wife and stage partner, Claire (Hudson), found unexpected success with a tribute band in mid-1990s Milwaukee.
It was this film that recently brought the “Greatest Showman” star to Diamond’s Colorado ranch, where the two participated in a singing session that convinced Jackman to buy his own karaoke machine.
The only guide you need for holiday entertainment.
“Normally, I’m like, ‘I don’t want to do that,’” says Jackman, over Zoom from a New York hotel room, as if he’s confessing a mortal sin. “But I did karaoke with Neil, and I’m like, ‘All right, now I’m in.’”
What did they sing? Diamond soloed on “I Dreamed a Dream” from “Les Misérables,” paying tribute to Jackman’s musical theater bona fides, before the two duetted on Elvis Presley’s “Can’t Help Falling in Love” and, of course, Diamond’s own “Sweet Caroline.” The good times never seemed so good.
It was a hang session so epic that Hudson, joining the call, seems green with an envy that matches her sweater. “I can’t believe I missed this karaoke party,” she says. “I have a whole karaoke setup at my house with a microphone and everything. I feel very left out.”
Thankfully, when it came to making “Song Sung Blue,” it didn’t seem so lonely for her. Based on Greg Kohs’ 2008 documentary of the same name, the film is as much Claire’s tale as it is Mike’s, following the real couple’s love story set to the tune of Diamond’s extensive songbook. At the height of their success, which included playing with Pearl Jam at Eddie Vedder’s request, the Sardinas became local celebrities, billed as the duo “Lightning & Thunder.”
Hugh Jackman and Kate Hudson in the movie “Song Sung Blue.”
(Focus Features)
A Vietnam vet and mechanic with a dream of entertaining, Sardina seems a role tailor-made for Jackman, who can go from Wolverine to Broadway in a single season. “Song Sung Blue” writer-director Craig Brewer, who first saw the documentary at a small film festival in Memphis, Tenn., never envisioned anyone but Jackman as the insatiable Wisconsinite.
“It was always Hugh because there’s not anybody else out there who could understand the wild showmanship that Mike Sardina had,” says Brewer, calling from his Memphis home. “He’s doing two layers of a character. He’s playing this working-class guy that loves to entertain any way he can. If he’s got to wear sequined shirts, he’s going to. He’s going to give you everything he has.”
The role presented a puzzle for Jackman, despite having played career impresarios like pop idol Peter Allen and P.T. Barnum. “I had to lose Hugh Jackman to be Mike,” says the actor, relaxed in an umber-colored button-down shirt. “How does Mike find himself within his love of Neil? It took me a second to find him and lose my shtick, because I’m a performer too.”
Ultimately, the solution wasn’t his Neil Diamond impersonation, though Brewer encouraged Jackman to make a meal of that. “You can lay a little bit more butter on it,” the director remembers telling him.
Instead, Jackman’s breakthrough came via deep self-identification.
“His dream was always huge but this was not how he thought it was going to go,” Jackman says. “It was that ‘one plus one equals three’ thing where, all of a sudden, they found themselves being the next big thing.” Similarly, Jackman never intended to become a movie star synonymous with musical theater. He’d never even sung before a post-university audition changed the course of his life.
“One of the hardest things to do is fake chemistry,” Kate Hudson says. “You can’t do that. You have to actually fall in love with each other and find the chemical connection.”
(Victoria Will / For The Times)
Hudson is a less-obvious casting choice. Though she’s made a career playing rom-com heroines, with “Song Sung Blue,” she’s already generating awards buzz for her turn as a guileless Midwestern mom miles away from the glittering women Hudson typically portrays, and one with her fair share of trauma. She has to go to some dark places, channeling Claire’s depression, addiction to painkillers and more — but despite her penchant for playing more carefree women, Hudson says she wasn’t intimidated by the role’s meatier aspects.
“When you grow up with storytellers,” she says, referencing her actor parents Goldie Hawn and Kurt Russell, “you forget the camera’s there. You’re not thinking about anything glamorous. You’re looking at the role and what it needs. It’s what you long for as a performer. It allows you to almost leave your body.”
For Hudson, the opportunity also dovetailed with a new act in her own life as a recording artist. Even though she released her debut album “Glorious” only last year, Hudson has long identified as a singer-songwriter. “I was always so scared of it,” she confesses of her fear of going public about her songwriting. “But the studio is where I’m very happy. I’ve been in the studio since I was 19, but I just never shared my music because I was too scared to put it out.”
It was a discovery Jackman made while they were recording their vocal tracks for the film. “I said, ‘You’re a musician,’” he recalls, Hudson beaming at him. “You were so relaxed and in your home.”
“I’ve always had a lot of cheerleaders for me to do music,” Hudson replies, sheepishly.
Some might see it as a full circle moment for Hudson, who received an Oscar nomination for her performance as the groupie Penny Lane in Cameron Crowe’s 2000 rock memoir “Almost Famous.” It was such a formative experience that Hudson still remains close with Crowe. She tells me she’s reading his new book, “The Uncool,” to prepare to interview him on his tour.
But no matter how much Penny Lane has shaped her life, Hudson doesn’t see a through line from her to Claire. Instead, she draws a line between fandom and musicianship, specifically the distinction between those who chase the high of being in the room or backstage living the lifestyle, and those who have a song they have a visceral need to share.
“With Claire, it needs to come out,” she continues. “It doesn’t matter where or what we’re doing or how we’re doing it — we just need to do it. That is also how I feel about music.”
The real-life Claire Sardina and her two children (played by Ella Anderson and Hudson Hensley on-screen) threw their full support behind “Song Sung Blue.” But Hudson’s instinct was to build her own version of Claire without too much outside influence. “You want to make a choice in a film because it’s the right choice for the character, not because you’re trying to mimic something,” says Hudson.
Hugh Jackman and Kate Hudson in the movie “Song Sung Blue.”
(Focus Features)
That need to avoid mimicry and feel the moment was particularly crucial for the film’s heartbreaking second act, in which Claire is hit by a car in her front yard and loses a leg, plunging into self-loathing, depression, body dysmorphia and addiction. Hudson had to do extensive physical work to prepare to authentically represent Claire’s lived experience. “Movement is a huge part of what actors do,” she says. “There’s the emotional part but the physicality is like rebalancing your brain.”
In addition to watching YouTube videos of amputees and speaking with those in the disabled community, Hudson got useful advice from another screen legend — her dad.
“Kurt said that Claire is like Rocky,” she says, referring to the iconic character’s grit and determination to go the distance. “The part that really got my dad emotional was that she just wanted to figure out how to get on her feet.”
Jackman marvels at the bravery and skill of Hudson’s performance, noting that she even captured something the real Claire told him off-camera.
“Claire said, ‘The thing is Mike was a leg guy,’” he remembers. “Kate played that so well. That feeling of shame about: Is my partner attracted to me anymore? I found that incredibly moving.”
Hudson welcomed the challenge, but she did worry about one thing outside her control. For “Song Sung Blue” to work, the actors playing Claire and Mike need to be in perfect alignment: one the words, the other the tune.
“One of the hardest things to do is fake chemistry,” Hudson says. “You can’t do that. You have to actually fall in love with each other and find the chemical connection. That was my biggest anxiety.”
Jackman shared this concern. “I remember the first day after our table reading, you said, ‘This movie works if we work,’” he reminds her.
They needn’t have worried. “They were a net for each other as the other one was up on a tightrope,” Brewer says. “It was incredibly inspiring for the crew to see that kinship and respect.”
Their mutual generosity is evident in the way Jackman checks in with Hudson after each anecdote during our interview, confirming she has nothing to add or correct. Though this is their first film together, their repartee is so easy and warm it’s hard to believe they haven’t co-starred in at least a dozen movies.
“It felt easy to just inhabit these characters,” Jackman says. “The word that comes to me is trust. All of the scenes, particularly in that darker period, we could just live in that — the frustration, the paranoia, the anger, the loss, the fear. Every take felt really very different. I felt very free.”
Hudson agrees, adding with a giggle, “I told Hugh, ‘I’m really tactile. Just tell me if I make you uncomfortable. I’m going to kiss you all the time.’”
It helps that Hudson and Jackman are naturally sunny, curious people, celebrities who’ve never cared for the sound of being alone. “We like to connect with people,” Hudson says. “There’s no internal process that removes us. We’re both community people. We like to be in the circus. When we’re on set, we sit on set. There’s no separation of crew and cast. It’s very rare that you work with someone who is like that.”
Ultimately, that openness allowed Hudson and Jackman to approach Claire and Mike with honesty, essential for a film that’s a fullhearted paean to dreamers at their highest and lowest.
“Eddie Vedder told me something that moved me so much,” Jackman says, a note of emotion in his voice. “He goes, ‘Some might say these people led small lives. Their dreams were so huge and perhaps, naive. But dreams are so powerful that 30 years later, it’s come true.’”
From playing Milwaukee dive bars to becoming the subjects of a major motion picture, the Sardinas have far exceeded even their own expectations. To quote another beloved Diamond tune, it’s enough to make anyone a believer.
Alan Carr is back with a new series of Changing Ends – however, he may be following in the footsteps of his Celebrity Traitors co-star Claudia Winkleman as Strictly’s new host
(Image: Mike Marsland/WireImage)
The job offers haven’t stopped rolling in for Alan Carr since his momentous Celebrity Traitors win, with the comedian even tipped to take over hosting duties on BBC One’s Strictly Come Dancing. While he’s back with a new series of his hit comedy Changing Ends, the 49-year-old admits he’s unsure whether he could handle the challenge of stepping into Claudia Winkleman and Tess Daly’s sparkly shoes.
“My name is in the hat,” he says. “What an honour. It’s a bit like when my name got bandied about for Britain’s Got Talent and The Great British Bake Off – I’m always on the periphery.
“I don’t know how serious it is. No one has approached me. People are so passionate about it and you saw me sweating in the castle when I was a Traitor, imagine me doing live telly with how many million people watching!”
Although, after a star turn on The Celebrity Traitors, he knows how to convincingly lie – and that could come in handy on Strictly. “If someone’s cha-cha-cha is a bit s**t, I’ve got the poker face!” he jokes.
“So many things have come from The Celebrity Traitors – so many job offers coming in – I’d be flattered but I don’t know if I could do it [Strictly] justice. I just don’t want to ruin it for people.”
Alan is back on more familiar ground with Changing Ends – the semi-autobiographical sitcom about his childhood in 1980s Northampton. Series three follows teenage Alan (played by Bafta nominee Oliver Savell) as he navigates obstacles such as stressful swimming lessons, and, more importantly, his first big crush – young Alan is smitten with Jake, the Saturday boy at the charity shop.
“I really got into charity shopping,” Alan smiles. “I used to go in there every Saturday and flick through the posters to catch his eye. I must have stunk like an old woman because I would get flares, I wore my dad’s sheepskin and we didn’t have dry cleaning like we do these days.
“I just wanted to be in love really. It still hasn’t happened!” With Alan now single after divorcing ex-husband Paul Drayton back in 2022, is he hoping his teenage crush will reach the real-life inspiration behind Jake?
“The boy knew then because I was just as unsubtle as I am now,” he laughs. “When I went back to Northampton, I saw him queuing up at a cash point. My knees went to jelly and I thought, ‘Oh my God, there he is.’ But I didn’t want to say hi.
“There’s still something there, but I don’t want a Surprise Surprise moment. He had his chance and he missed it! He could be dating a national treasure now.”
Fans will already know that Alan’s father Graham was famous himself – having been a professional footballer in the 1960s who went on to manage Northampton Town among other clubs. However, the new series also sees Alan’s mother Christine embracing life as a local WAG.
“We would drop my brother [Gary] off at Beavers and me and mum would sit in the Tesco café for an hour with a cup of tea and a Chelsea bun,” he says. “I remember this woman coming over in the canteen to ask for an autograph – I mean, it was funny.
“It sounds weird but in Northampton, my dad was famous – people would stop him. My mum didn’t get the same standard as my dad, but it was funny. She was stopped a few times and people whispered, ‘That’s Graham Carr’s wife.’ Now she gets, ‘That’s Alan Carr’s mum – that’s the Traitor’s mum!’”
Christine isn’t always pleased with how Alan portrays his childhood, with Nancy Sullivan and Shaun Dooley playing his long-suffering parents. “My mum goes, ‘Oh Alan, it wasn’t that obvious you were gay when you were a child.’ My mum, bless her – she’s still that she-wolf who goes up the school. ‘Don’t you pick on my Alan, he does fancy girls!’ I don’t think she realises how camp I am, she just loves me.”
Both his parents visited the show’s “surreal” set in Enfield, north London, which completely recreates his childhood home. “My poor dad walked up the stairs and nearly fell to his death because he thought the bedroom was upstairs,” he says. “How weird is that? It’s identical to the house. To have it decompartmentalised in a warehouse is so strange.”
As for whether we can expect more episodes of Changing Ends in the future, Alan says that it’s up to the fans. “I like the stage it’s at – that weird puberty stage,” he says. “If people are watching and they want it to come back, I’ll think about writing some more.
“But when it gets to the call centre years at 18 and when I started packing shampoo and dog food, I think I’m going to run out of stories because that was a really bleak time. It could be like The Office and be called The Warehouse!”
Although, after managing to make it all the way to the very end of The Celebrity Traitors without being found out as a Traitor, Alan is concerned that viewers won’t trust him any more. “I want it to be really authentic, but I worry now after doing The Celebrity Traitors people aren’t going to believe a word of Changing Ends!” he laughs.
Changing Ends airs Sunday at 10:05pm on ITV1 and ITVX.
Having etched his name into Republic of Ireland folklore, Troy Parrott let the tears flow.
At the end of a whirlwind 72 hours, the striker’s raw emotion was understandable. On Thursday, Parrott upstaged Cristiano Ronaldo with two goals to sink Portugal and take the Republic of Ireland’s play-off push into the final game.
Against Hungary, his penalty brought the Irish level after they fell behind to an early Daniel Lukacs header. Then, after Barnabas Varga’s stunning strike, he equalised again with a deft finish 10 minutes from time.
The Republic of Ireland needed a win to make the play-offs, and after substitute Johnny Kenny was denied, Parrott seized the match-winning moment when he latched on to Liam Scales’ header, poked the ball into the Hungary net and wheeled away in ecstasy in a heart-stopping finale at Puskas Arena.
“I’m really, really emotional. They’re tears of joy. Ah, what a night, what a night,” the AZ Alkmaar striker, who led the line in Evan Ferguson’s absence, told RTE.
“This is why we love football, because things like this can happen. Look, I love where I’m from, so this means the world to me. My family is here.
“It’s the first time I’ve cried in years as well, I really, really can’t believe it. Everyone is crying.
“I said against Portugal that this is what dreams are made of, but this tonight, I don’t think I’ll ever have a better night in my whole life.
“That is really a fairy tale. You can’t even dream about something like that. Honestly, I have no words to describe my emotions right now.”
Towie star Amy Childs has given a health update after her drastic weight lossCredit: InstagramThe 35-year-old has been open about her weight lossCredit: InstagramAmy is a mum-of-fourCredit: Handout
Now, in a new post, the 35-year-old reality favourite has shared an insight into her weight loss after receiving “a lot of comments lately.”
Amy snapped a selfie in the mirror of her walk-in wardrobe, and could be seen wearing a green crop top and black leggings.
She showed off her midriff and stood barefoot while holding one hand up in the air and displaying a glam makeup look.
Amy penned to fans: “Feel like I have to do this post!! A lot of comments lately about my weight. For the past few months I have been really focusing on my nutriton with @jon_jkphysique.
“I have been really honest with you all, after losing a lot of weight, I realised I needed to understand how to eat the right way and to eat the right foods.. it’s been tough but I have started to gain healthy weight back( a little way to go) but I have been going gym, focusing on weight training and working on being more toned.”
Amy continued: “I have also been having my weekly body treatments @3daestheticsuk (will be doing another reel soon) about this treatment.
“This is not an overnight thing and it’s taking time but a journey to be my best self for the family. So please no negative comments please…
“PS jons foods are amazing 👍🏻 please give him a follow.”
Fans flooded the comments with messages of encouragement for the star, as one person penned: “you look amazing well done to you be proud of yourself.”
A second added: “Gorgeous and honest,” and a third echoed: “You look great @amychilds1990 people always have too much to say on peoples weight etc, continue to do you and be fabulous.”
In September, Amy underwent a tummy-tightening treatment.
The Towie star – who used fat jabs briefly two years ago – shared a video of herself on Instagram at the time, telling fans: “So guys, I’m on a journey to feel my most confident self.
“After having four children, dealing with weight loss and stress, my body has been through a lot! But it’s September and the perfect time to reset and create new goals.
The 35-year-old beautician went on to speak about a treatment which claims to “help tighten and firm up” the tummy after losing some elasticity.
A representative for Amy told The Sun: “Two years ago, she briefly tried weight loss injections, but they made her feel unwell and really sick, so she stopped them immediately.
“After having her babies, she wanted to feel like herself again and worked with a nutritionist, which helped her lose weight in a healthy way.
“Still, she was left with a tummy that felt jiggly and loose. This year, after her mum became ill, she lost more weight due to stress which she has spoken about on the show as well as the stress of cancelling a wedding.
“Following this she has felt a renewed drive to focus on her health.
“Through balanced nutrition, consistent training and support from 3D ReFirm treatments, she’s now on a journey to become fitter, stronger, and healthier, inside and out and tackle the areas of concern like her crepey skin on her tummy.”
Amy shares two of her four children with fiancé Billy who she first met in 2000.
As Richard E Grant reveals he prefers to sightsee at night to avoid the crowds, travel expert Will Sarson shares the best tourist attractions to visit in these countries after dark
A deputy for the Medina County Sheriff’s Office in Texas fatally shot California-based food influencer Michael Duarte last week, a police spokesperson confirmed to TMZ.
The outlet reported on Wednesday that Duarte, who amassed a following on social media as “FoodWithBearHands,” died Nov. 8 after deputies responded to a disturbance call in Castroville, Texas. Law enforcement reported to a “male subject with a knife acting erratically.” The spokesperson alleges that Duarte threatened and approached the responding deputy, and did not follow numerous “verbal commands” to get on the ground.
“Duarte charged toward the deputy while yelling, ‘I’m going to kill you,’” the spokesperson told TMZ. The spokesperson added that the deputy fired two rounds from her “duty weapon” and struck Duarte. He was reportedly given medical aid at the scene and transferred to a nearby hospital, where he died. He was 39.
Neither representatives for the Medina County Sheriff’s Office or Duarte immediately responded to requests for confirmation on Wednesday.
Barbecue pellet company Bear Mountain BBQ announced Duarte’s death on Tuesday in a joint statement shared to his Instagram page. A GoFundMe fundraiser created to benefit his family confirms that Duarte died “in a horrible accident on Saturday” while he was traveling in Texas, three days after he and his wife celebrated their ninth wedding anniversary.
“The world may know him as ‘FoodwithBearHands,’ but to us, he was a loving husband, father, brother, and a great friend to many,” reads the fundraiser description. “We ask that you lift Michael’s family up in prayer during this extremely difficult time, especially for his 6 year old daughter Oakley, and his wife Jessica.”
The GoFundMe seeks to raise $100,000 to support Duarte’s family in covering funeral expenses and “bringing him back home to California.” Donors have raised more than $65,000 as of Wednesday afternoon.
Duarte, raised in the desert town of Calipatria, began his professional culinary career working in several restaurants in San Diego, he said in October. He began posting videos on social media during the COVID-19 pandemic. After a “mental health crisis that led me to rehab,” Duarte continued to post cooking videos during his time off, including his first video, which featured his daughter, he said.
“That’s when I realized how happy creating content made me,” he wrote. “Over time, I began to see it wasn’t just a hobby — it could be a business, something bigger than myself.”
Over the years, he shared cooking recipes for alligator, iguana, frog legs, smoked duck and a variety of other dishes. His YouTube channel boasts a following of more than 260,000 subscribers and his Instagram page touts even more, with 845,000-plus followers.
“He had a rare gift for capturing the true spirit of BBQ: the smoke, the stories, the laughter, and the love for good food that brings people together,” Bear Mountain BBQ continued its statement.
The statement added: “But beyond the work, Michael was so much more. A proud dad who lit up every time he spoke about his daughter. A devoted husband whose love for his family was the center of everything he did. A good man with a generous heart, whose warmth and kindness touched everyone he met.”
The former chief executive of WPP’s Motion Content Group — the producer behind “Love Is Blind” and other reality TV shows — is suing the ad agency, saying he was fired after he flagged alleged improper billing practices.
In the lawsuit, filed in U.S. District Court for the Southern District of New York on Tuesday, Richard Foster said he was ousted after he repeatedly warned senior managers about alleged “kickback practices” involving the company’s “rebate-driven deals” that he said “were unsustainable, unlawful, and a significant threat to the Company.”
Foster, a 17-year veteran, led WPP’s media division that is the producer and co-financier of “Love Island” and some 2,500 other television shows around the world. The division was rebranded in 2023 as GroupM Motion Entertainment in the North America.
Foster alleged in his lawsuit that GroupM leveraged “client budgets to secure inventory deals” from media companies that included cash rebates, inventory discounts and other financial incentives, and that these transactions were not always transparent or disclosed to clients.
Over the last five years, the lawsuit states, the company “generated rebate-driven deals valued between $3 [billion] and $4 billion, of which it improperly retained approximately $1.5 [billion] to $2 billion.”
But rather than confront the issues, Foster claims executives “marginalized him, and ultimately terminated him and his team to cover up their own improper practices.”
WPP disputed the claims.
“The Company is aware of a lawsuit in the New York State Court filed by a former employee who was let go in a recent organizational restructuring,” a WPP spokesperson said in a statement. “The court has not yet made any findings in relation to the allegations and we will defend them vigorously.”
In December, Foster submitted a 35-page internal report emphasizing that there were opportunities to establish a new entertainment division, but warned that its use of rebates could pose “possible legal and reputational” risks to the company.
At one point, Foster alleged that he told one executive, that “WPP and GroupM have ‘been sleepwalking to the edge of a cliff and people don’t want to hear it.’”
In January, Foster said he was asked to discuss the report with Brian Lesser, global CEO of GroupM, who “expressed concern about the legal risks tied to GroupM Trading and said he would investigate this further.” Days later Foster claimed that he received a text from Lesser asking him to send a “sanitized version of the report” and “to exclude any overt criticism of [GroupM Trading] as that is not in the spirit of working together.”
Eventually, Foster said he was terminated on July 10. He is seeking $100 million in damages.
“Richard Foster devoted nearly two decades to helping build one of the world’s most successful media and entertainment creation operations,” his attorney, William A. Brewer III, partner at Brewer, Attorneys & Counselors, said in a statement. “When he stood up for transparency and accountability at WPP, he was let go. This case will shine a light on systemic misconduct and the retaliation faced by an executive who refused to go along to get along.”
Waitrose may be one of the last retailers to unveil its Christmas adverts but it has produced a cracker, with Actress Keira Knightley and comedian Joe Wilkinson making an unlikely match
The festive offering, directed by Bafta-award winning director Molly Manners, follows Knightley and Wilkinson as their relationship blossoms over a shared love of food.
It begins with Wilkinson’s character, forlorn ‘Phil’, sitting in a pub with mates who are urging him to move on in love. He says of his lost love that “the only person I could move on with was Keira Knightley”, to which his friend replies “good luck with that mate.”
As luck would have it, a downcast Phil pops into a branch of Waitrose and standing at the cheese counter when he asks – at the same moment – for the identical ‘Sussex Charmer’ variety as Knightley. Phil plucks up his courage and asks her out, to which Knightley agrees. From there love slowly blooms. But it all appears to go wrong when Phil finds a present to what he assumes is a love rival. Using his culinary skills, Phil vows to win her heart by recreating Keira’s Nan’s turkey pie recipe.
Knightley, whose big screen hits include Bend It Like Beckham through to Pirates of the Caribbean alongside Johnny Depp, said: “I love food, and so when I received this script where I get to fall head over heels in love over a shared love of cheese, I couldn’t turn it down. I adored working on this silly, fun and delicious film with Joe, and I hope those watching it fall in love too.”
Wilkinson, fresh from starring in hit BBC show The Celebrity Traitors, said: “As you can imagine, it was tough having to eat the delicious Waitrose food and falling in love with Keira, but I just got on with it, like the trooper I am.”
Wilkinson reprises his role as Phil from the grocer’s 2024 ‘whodunnit’ festive advert. The soundtrack features the song She’s A Star by British band James.
Waitrose chief customer officer Nathan Ansell said: “Our four-minute Christmas film – an industry first – pays homage to the seasonal romantic comedy tradition, celebrates the exciting and elevated Waitrose festive food offering, and adds a little more of that warm, fuzzy feeling to the holiday season.”
Ms Manners said: “We had such a great time making the perfect miniature romcom with food as a love language deep at its heart. The combination of Keira Knightley and Joe Wilkinson is magical in such an unexpected way. I hope they knock your socks clean off, as they did mine.”
Destin Conrad didn’t expect to release a jazz project so early in his career — let alone just a few months after dropping his debut album, “Love on Digital.”
The 25-year-old singer-songwriter, who first made millions of people laugh on Vine when he was a preteen, entered the music industry as a fresh-faced R&B artist, following in the footsteps of the artists he grew up listening to such as Brandy, Musiq Soulchild and Usher. His first official EP “Colorway” (2021) and the slew of bite-size projects that followed were melodic and honest meditations on love, lust, queer identity and simply having a good time.
But during the summer, Conrad found himself gravitating to jazz, the genre he was introduced to in high school when he was enrolled in jazz choir. He was inspired by all of the greats and contemporary work by artists like Vanisha Gould, and decided that it was time for a slight departure in his own sound.
“I feel like it’s always kind of been in me,” Conrad says over Zoom during an off day from his second headlining tour in support of “Love on Digital.” “It’s always been a tool that I never really got to exercise that I knew I really wanted to.”
After a two-week whirlwind in L.A. filled with studio sessions with some of his bucket list collaborators like Gould, trumpeter Keyon Harrold and beloved L.A. saxophonist Terrace Martin, Conrad unveiled “Whimsy,” an 11-track alternative jazz detour. Rich with songwriting tinged with sensual winks, live instrumentation (piano, horn section and drums) and a spoken word interlude by Bay Davis (that is reminiscent of Meshell Ndegeocello), “Whimsy” is a masterclass in following your own intuition and creating freely — a testament to his Cancer sun.
“I think it’s some of my best work actually,” Conrad says, adding that it was the most fun to make, which is evident on tracks like “Whip,” a cheeky double entendre about trading places in the bedroom and “A Lonely Detective,” which explores the life of a man living a double life. “Things that I’ve spent more time on, I don’t feel as connected to, but I really love “Whimsy.”
Conrad, who performs at the Wiltern on Nov. 14, phoned in the day before Grammy nominations were announced to talk about why he was nervous to release “Whimsy,” why he thinks jazz deserves more attention and what he’s still learning about being an artist in the digital age. Little did he know that by the next morning, he’d receive his first solo Grammy nod for progressive R&B album.
Now that your debut album, “Love on Digital,” has been in the world for a few months and you’ve experienced fans singing it back to you at shows, how does it feel to look back on the journey of releasing it?
It’s been amazing. I think it’s made me look forward to putting more music out. I feel like this tour taught me a lot. While making this album, I had touring in the back of my mind, so I’m really excited that it’s being received well. Also, it’s kind of wild that I put out another project a [few] months later but I’m glad I have such cool fans that receive me in a good way.
Speaking of that, you turned around and released “Whimsy” in August. Can you talk about how that all came together and how your single “Wash U Away” inspired it?
I made the majority of it in a two-week span. “Wash U Away” and “Whip” I had, but they weren’t jazz songs. So I had “Wash U Away” in the tuck for years — I think I made it in like 2021 — but we had it replayed by actual musicians because before, it was just a very bare beat. Then the rest of it I made within those two weeks. I also had “The W” with James Fauntleroy and Joyce Wrice already, but same thing — it wasn’t a jazz song. I knew I wanted to make a jazz album. I didn’t know I was going to do it so soon after my debut album, but I was kind of on a wild one and was like “Why not?” But I’m really glad I did it because I feel like my fans really like that album and I really like that album as well. I think it’s some of my best work actually. Things that I spent more time on, I don’t feel as connected to but it’s something that I’m really proud of.
Take me back to those two weeks in L.A. when you starting working on this project. Was it summer time?
It was summertime, yeah. I live in Brooklyn now, so I was like “I’m going to fly to L.A. and stay there for two weeks to knock this project out.” I told my managers, “Get me in with everybody. Here’s my list of people I want to work with. Let’s figure it out.” We flew out Vanisha Gould, who’s one of my favorite jazz musicians. I was so ecstatic that she was down. She’s such a jazz head. She was kind of like “What the f— am I doing? Are they going to kidnap me? I’m just flying out here to work with this random ass R&B singer.” But I’m so glad she came and we low-key became besties. Same with Terrace Martin. I’ve been a fan forever. He’s the G.O.A.T. James [Fauntleroy]. All these people who I was very adamant about working with. And eventually I want to do another jazz [project]. Maybe a “Whimsy 2” and just keep that world alive because I feel like jazz is such a special genre that gets overlooked and it’s something that I really feel passionate about. Especially because I was in jazz choir in high school and it kind of taught me more about soul music and the origins and how there’s so many synchronicities within other genres like gospel, and how R&B and all of them just tie into each other. I think it’s just really cool.
What was going on in your world when you started making “Whimsy?” Were you listening to a lot of jazz at the time?
Yeah, I was listening to a lot of jazz music. I was listening to a lot of Vanisha Gould and I was like, “I need to do this jazz album.” I thought I was just going to start it and be like “I’m not done.” But I was like “No, I’m done. This is it. This is what I have to say.” But yeah, I always listen to jazz. As I said, I was in jazz choir in high school. My jazz instructor Mr. O put me onto hella jazz. He showed me Frank Sinatra and all these jazz standards. I have videos that I’ll eventually show the world of me performing at my jazz Christmas show. I feel like it’s always been within me. It’s always been a tool that I never really got to exercise but I knew I really wanted to. But like I said, I didn’t know I’d make it in two weeks and that it’d be such a quick thing. It was so fun to make. It’s probably one of the most fun projects I’ve made.
You can definitely hear how much fun you were having on tracks like “Boredom” and “Lonely Detective.” I feel like jazz was once viewed as a genre that older people listened to, but that’s been changing within the last few years. It feels like it’s becoming more popular with younger audiences. What do you think about this?
Personally, I don’t think it’s becoming more popular. I would love to be part of some sort of push of making it more of a thing and I feel like a lot of my fans are younger. I’d like to say in my head that I’m helping push the genre forward.
It’s just not super prominent. There’s not a lot of new jazz artists. If you look at the jazz charts, a lot of what’s still charting is like Frank Sinatra [and] Miles Davis. Laufey is one of the newer faces of jazz that I feel like is pushing it aside from like Robert Glasper. But I don’t know. I feel like a lot of the jazz even that I listen to is the older stuff. There’s a very select few of newer jazz artists that I’m like “Yes.” Like Vanisha Gould, a perfect example. I’m obsessed with her. I think she’s one of the most talented musicians that I know, period.
How did you feel about dropping “Whimsy”? Were you nervous about how people would receive it?
Umm I thought about it [but] what I really thought about were the jazz heads. I thought the real, super crazy into jazz people were gonna be like, “This s— ain’t f— jazz” because I do consider it an alternative jazz album. I remember talking to Terrace [Martin] about that because he’s a jazz head and he’s also older than me and he’s been in it for longer. I was telling him [that] I feel like people are going to have s— to say about it because it’s not traditional and I’m not a trained musician. I don’t know how to read music. I just go with my [gut], and he was like, “That’s why it’s so fire. That’s what makes people feel it.” He was like, “I can tell that you’re young and when I listen to this, I hear a 25-year-old,” and I’m like, “Tight.”
You’ve essentially grown up online and in the public eye. How has that evolution shaped the way you see yourself as an artist, and what have you learned about navigating visibility over the years?”
I feel like it’s an advantage. I always talk about that especially with my artist homies. I was an internet baby so I kind of have just a slight advantage because I knew really early how it worked. I feel like I’m still learning how to promote my music because I know how to get on the internet and be an idiot all day. I can do that literally in my sleep, but being an idiot who knows how to promote his music is different. [laughs] So yeah, I’m still learning that. I used to think it harmed me because I was so scared that people wouldn’t take my music seriously. But no, I use it to my advantage for sure.
We’re at a time in music where it’s common for artists to be open and proud about their identity and sexuality without feeling like they need to use coded language. I think of artists like Frank Ocean, Steve Lacy and Durand Bernarr. Can you talk about why talking about your queerness is important to you?
I feel like I’m a pretty honest person in general. I try not to lie and I feel like all I can do really is just keep it a bean. Most of the time, I try to write about my personal experiences and I deal with men, so that’s just my truth [laughs]. I do also write from other perspectives like things that my friends or my homegirls tell me. I don’t always write from my point of view, but when I do, it’s about a man and that’s all I can really do.
Rob Gronkowski spent nine years as a member of the New England Patriots.
On Wednesday, that stint will become nine years and one day as the fun-loving and ever-popular tight end will sign a one-day contract with the Patriots so he can officially retire as a member of the team with which he won three of his four Super Bowl rings.
“I am signing a one-day contract with the Patriots this week coming up to retire as a Patriot and be a Patriot for life,” the “Fox NFL Sunday” analyst announced during this week’s broadcast.
The next day, the Patriots revealed when the ceremonial signing would take place.
“The greatest tight end in @NFL history is retiring a Patriot!” the team posted Monday on X. “Watch @RobGronkowski sign his one-day contract this Wednesday at 12:15 PM LIVE on Patriots digital & social.”
A second-round draft pick for New England in 2010, Gronkowski quickly became a key and beloved member of a Patriots dynasty that was already going strong under coach Bill Belichick and quarterback Tom Brady. He retired after the 2018 season but returned to the NFL in 2020 to join Brady with the Tampa Bay Buccaneers. Two seasons and one Super Bowl victory later, Gronk retired again.
Last summer, the idea of Gronkowski re-retiring with the Patriots was floated publicly by Susan Hurley, the founder and president of the CharityTeams fundraising firm for nonprofits. Speaking at a ribbon-cutting ceremony for Gronk Playground in Boston, Hurley threw in a personal plea toward Patriots owner Robert Kraft, who was also in attendance.
“Can we just make it official and sign [Gronkowski] for a day so he can retire as a Patriot?” Hurley asked. “What do you say?”
Kraft and Gronkowski both indicated their approval in the moment, with Gronkowski telling reporters that Hurley was the spark behind the idea of his ceremonial signing.
“The reason we’re really going to do that is because of Susan Hurley,” Gronkowski said. “She wants to see that happen and has been dreaming about it happening for a while.”
Hurley died Nov. 1 at age 62 after a long battle with ovarian cancer.
Patriots spokesperson Stacey James told The Times in a statement that the Patriots were initially planning on honoring Gronkowski’s “legendary contributions to our franchise and the bond he shares with Patriots Nation” with a ceremonial contract upon his induction to the team’s Hall of Fame. Gronkowski is eligible for that honor starting next year.
However, James said, “we chose to expedite the honor when Susan Hurley, a former Patriots cheerleader and dear friend of Rob’s, made it her dying wish to see Rob retire a Patriot. Her love for the team and for Rob was deeply moving, and we were looking forward to hosting her for the announcement. Sadly, she passed earlier this month. While she won’t be present, her presence will surely be felt.”
Gronkowski posted a lengthy tribute to Hurley last week on social media.
“We lost a good one over the weekend,” Gronkowski wrote. “Susan Hurley has known my family and I for a long time, she became a good friend of ours and supported our foundation more than words can express over the years.
“But even beyond our team, Susan took care of so many charity teams for the Boston Marathon and their bibs, helping raise so much money to give back to charities. She always did it out of love, her love of the game, her love of people, her love of helping others, and her love for the kids.
“She always had a smile on her face and the utmost positivity, staying an inspiration for runners and charities every single day, even while she was fighting cancer. Her strength and resilience were truly inspirational, and she will be greatly missed.
“Without Susan, there would be no Gronk Playground. I’m thankful that her legacy can live on through the playground, making a huge impact not only on all the Gronk Nation Youth Foundation kids she helped, but all the kids she continues to inspire every day.”
A new trailer has been released for an upcoming crime drama on Sky that fans won’t want to miss
08:58, 07 Nov 2025Updated 09:12, 07 Nov 2025
Rising star Luca Lubrano takes on the leading role(Image: SKY)
Sky has unveiled the thrilling first trailer for an upcoming prequel series to one of their best shows.
Gomorrah – The Origins will be released in early 2026 and revealing the startling story of how Pietro Savastano, originally portrayed by Fortunato Cerlino, became one of the most notorious crime bosses in Naples.
The original Italian crime drama aired between 2014-2021 and was one of Sky’s biggest international shows, becoming a worldwide hit after airing in 190 countries.
Now, rising star Luca Lubrano steps into Pietro’s shoes in a six-part origin story kicking off in 1977.
Sky says the gripping new drama will tell “the story of how it all began — how a very young Pietro Savastano will enter a criminal world set against the backdrop of a city in transformation: poor, rough-edged, hooked on cigarette smuggling and about to enter a new era of heroin use.”
Also joining the cast are Francesco Pellegrino as reluctant gangster Angelo ‘A Sirena’, Flavio Furno as charismatic convict ‘O Paisano’, Tullia Venezia as musician Imma, who goes on to become Pietro’s wife, and Fabiola Balestriere as young mother Annalisa Magliocca before she became the notorious female drug lord Scianel.
Supporting cast includes Antonio Buono, Ciro Burzo, Luigi Cardone, Antonio Del Duca, Mattia Francesco Cozzolino, Junior Rancel Rodriguez Arcia, and Antonio Incalza.
The first trailer revealed a fun and fast-paced thriller that will nevertheless delve into Naples’ darker underbelly as fans follow the rise of one of the most iconic characters in international drama.
Based on the bestselling novel by Roberto Saviano, it’s a must-watch for fans of the original series and is also bound to attract newcomers to the franchise who will immediately want to binge all five seasons of the flagship hit.
An official synopsis for Gomorrah – The Origins from Sky reads: “Pietro is a tough city kid who grew up in the poorest parts of Secondigliano.
“He and his friends survive any way they can, riding their mopeds around town and committing petty theft.
“But he has a big dream: to become like Angelo ‘A Sirena, the neighbourhood’s ‘king’. When he manages to get in the graces of the young boss, he finds himself caught in a power game far beyond him.
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“He ends up wondering whether this dark, violent criminal life is really what he wants or if his love for Imma can save him from such a fate.”
The original series overwhelmingly received five-star reviews from fans and, with writers Leonardo Fasoli, Maddalena Ravagli and author Saviano back on board for the prequel, it’s expected to reach similar soaring heights.
One fan raved about the original Gomorrah: “I absolutely adore this show. It’s raw, realistic, and unflinchingly brutal.
“As someone hailing from the North of Italy, I was already familiar with the Camorra, but this series opened my eyes to just how merciless it can be.
“The actors deliver outstanding performances, the script is flawlessly executed, and the storyline is gripping.”
Gomorrah – The Origins premiere in early 2026 on Sky and streaming service NOW.
